Every year, République Studio are in charge of the new design of the free Parisian cultural magazine Le Bonbon. For this A5 format zine, in 2019, they decided to use two freshly baked fonts: Production Type’s Kessler by Alaric Garnier, and Whyte Inktrap, published by Dinamo. While Kessler is used in almost all the layout (from Super Display for big titles, to Text version for small texts), Whyte (inktrap version) appears in small doses for folio and rubrics. The masthead, set in Underware’s Bello and slightly modified, didn’t change since the creation of the magazine ten years ago.

The Université de Paris is a new public university, created in March 2019 from a merger of the Paris Descartes University, Paris Diderot and L'Institute Physique du Globe de Paris. The University of Paris chose Graphéine to define its brand image and its graphic charter in a co-construction process. The opportunity to collegially exchange qualities made it possible to define a relevant visual identity.

The logo echoes the Didone style typefaces that were massively used in France from 1810 to the 1950s for regulatory printed matter and school textbooks. By combining the letter U and a stylized representation of the Eiffel Tower, we created a symbol that gives the impression that it has always existed. Wearing the emblem of the University of Paris should be seen as a reward, like the Varsity Letter awarded in the United States.

The strong contrast ofDarby Sansoffers a form of beauty and refinement that is traditionally associated with luxury and elegant letters with Didone-style serifs. Its structural qualities and humanistic style perfectly complement the “heritage” aspect of the emblem, while adding a contemporary touch.

Paris 巴黎 Zine is a zine based on a short journey to Paris in December 2018, edited by Sin Hui Teh. 66 pages, 15×21 cm, ring binding. The fonts in use include Mhtirogla (Brando Corradini), Times New Roman (Monotype), Archivo (Omnibus), and Lantinghei Tc for the Chinese name of Paris.

brings together a community of young galleries and independent spaces in Paris which, for 3 days, open their doors and highlight the new Parisian and international art scene.
Before the effervescence of the FIAC and Paris Internationale, this new annual rendez-vous establishes a further course dedicated to emerging artists.

The visual identity, realised by graphic designer Jeanne Triboul, focuses mainly on the combination of two fonts: Keops Sans Display for the titles to give presence and character to the logo and identity, and Sainte Colombe for the running texts, to counteract Keops’ strength and to bring delicacy to the whole.

Program booklet for the 11th Festival Estival de Paris, which found place in the summer of 1976. On the cover we see a phototype version of Helvetica breitfett, with customisations (see e.g. the r which might have been derived from an n). Among digital versions, Nimbus Sans Black Extended comes close.

The inside of the program is set in various weights of Helvetica. The back cover uses ITC Souvenir for the titles and Times for the main text.

The signature on the cover tells us the design is by painter and graphic designer Raymond Pagès (1923–2014). He designed for several editions of this festival, see e.g. 1974 or 1983. Pagès also designed multiple posters commissioned by Air France — who participated in the festival — in the 1970s.

Madeline is a 1998 live-action film adaptation of the children's book series and television series Madeline. The film starred newcomer Hatty Jones as the titular character with the better known Frances McDormand and Nigel Hawthorne in supporting roles as Miss Clavel and Lord Covington. The film encompasses the plots of four Madeline books. It was released on July 10, 1998 by TriStar Pictures. [Wikipedia]

The main title uses Balloon Extra Bold with yellow letters and black shadows. The same typeface is also used for the end credits.

Balloon was designed by Max R. Kaufmann and first released by ATF in 1939. This typeface was probably chosen in reference to the covers of the original Madeline books by Ludwig Bemelmans. The first one was issued by Simon and Schuster, also in 1939, with slightly inclined bold sans serif letters on the cover. This lettering style was carried over to subsequent volumes, see e.g. Madeline’s Rescue (Viking, 1953) or Madeline and the Bad Hat (Viking, 1957). Howard Trafton’s Cartoon (Bauer, 1936) is another contemporary typeface that might have influenced both the book cover lettering and the creation of the Balloon typeface.

La Montgolfière is a majestic and hidden place of nearly 2000m², located near the Saint Martin canal in Paris: more than a simple sports hall, this social sports club will be a fusion between several atmospheres (music, art, sport, food). This Parisian address will become the new meeting point for a heterogeneous neighbourhood. Scheduled to open in September 2018.

This place, full of history, is an old hot-air balloon canvas factory built in the 1850s without a building permit. Originally the building did not have a roof allowing, exceptionally, hot-air balloons to take off directly from the factory. Its wooden structure and glazed corridors were later reinforced by Eiffel-type metal frames that covered the atrium with an imposing glass roof 18 metres high.

We worked with the founders of the place, Basile and Ruben, to develop the visual identity. The logo, a typogram entirely designed for La Montgolfière, is a statutory lettering including subtle graphic accidents, revealing a bold state of mind. The O’s are transformed into monograms, revealing the simplified design of a hot-air balloon. Supported by a simple graphic system, based on a fir green (the initial hue of the beams forming the framework of the facade) and the Panamera typeface, we have developed for pre-opening a visual language based on multiple typographical and photographic compositions and the production of strong verbal hooks. Posters, postcards, socks, tote bags, T-shirts, flags, but above all a monumental tulle flag (6 meters high) welcomed a few hundred curious people last June. See you in September.

Cover with a hand-lettered nameplate and tagline. The information on the bottom of the page is set in Cheltenham on the left and Nicholas Cochin on the right hand.

This glossy avant-la-lettre is one of the numerous gems in the collection of the Rijksmuseum Amsterdam, accessible through their Rijks Studio: a website where the Rijksmuseum offers high resolution images of their collection, and where most of the images are free for download and (re-)use.

For those who eager to pinpoint unidentified typefaces, there is an unknown Copperplate-like typeface on the third picture, and an interesting serif with square tittles and a Venetian e on the last picture.

Page 4, more ads. The advertiser’s name is set in Fournier Le Jeune. Note the end swashes on r en e in the opening line in Nicholas Cochin’s italics. The complimentary caps with mini serifs are from a yet unidentified typeface similar to Copperplate Gothic. The text at the bottom is in (non-Nicholas) Cochin Italique with its characteristic cursive d and s.

Om page 15, a last advertisement before the articles start. Gant Fischl does not exist anymore, but judging from the depicted brand new factory (see also these photographs) it must have been a very successful brand. Korso, Ella Cursief and Rondka Urtyp are typefaces that have a similar feel as the hand-drawn logo. Text set in Cheltenham.

“Les Petits Riens qui sont Tout” (The little nothings who are everything) — must-haves for an elegant winter in Paris. Body copy set in italics from the typeface series that is used throughout the magazine: Cochin & Nicolas Cochin, by Peignot & Fils.

Page 51: Le sac à main et la mode – G. Silberstein discusses handbags. Title set in Moreau-le-jeune, an open style accompanying Cochin and issued by Peignot & Fils in 1913. It was copied by Barnhart Brothers & Spindler as Caslon Open Face.

Aurore Chassé has been artistic director of La Terrasse since September 2017. She designed the model with the typeface Basetica (205TF), created by Matthieu Cortat. Basetica is paired with Romain (Swiss Typefaces). The only one of its kind, La Terrasse, a free monthly created in 1992 by Dan Abitbol, ​​covers the theatrical, choreographic and musical news of the Paris region and highlights the living spectacle of quality in all its diversity.

Wigrum gets its groove on in the 2018 ad campaign for La Seine Musicale, a brand new music and arts center located on the river in western Paris. Colorful piles of names constitute this season's image and underscore the wide variety of the cultural offer for the months to come.

Le Bonbon Nuit is the incomparable magazine of all the Parisian night owls. It’s all about art, culture, lifestyle, music and cinema. We are in charge of the art direction and each year we design a new layout of the magazine. Here are some pages of the 2018 edition using two typefaces by Dinamo, Victor and Lapidar.

Maisons d'architectes à Paris, Visites privées is a 312 pages book gathering photographs of 18 houses of architects in and around Paris, with interviews of the occupants.

Designed by Benoît Santiard, a few years before he established Building Paris with fellow partner Guillaume Grall, the book features one of the first uses of Panorama, the 96-styles project developed by Jean-Baptiste Levée over the course of 9 years (2003–2014). Panorama is used for indexes, titles and quotes. Main content is set with MT Grotesque.

This editorial project needed to reflect the seriousness and official nature of the request, and the personality of the Paris design schools that train future designers. We created an object easy to understand and handle, that focuses on making the bulky and complex content (with many charts, diagrams and appendices) more legible.